11 ideas
| 21945 | Foucault originally felt that liberating reason had become an instrument of domination [Foucault, by Gutting] |
| Full Idea: In early work Foucault writes in opposition to the Enlightenment. ..The reason that was supposed to liberate us has itself become the primary instrument of our domination. ..His heroisation of the mad aims to set up an alternative to the regime of reason. | |
| From: report of Michel Foucault (works [1978]) by Gary Gutting - Foucault: a very short introduction 7 | |
| A reaction: Adorno and Horkheimer are cited as background. I hear Spinoza turning in his grave, because right reason could never be an instrument of domination. |
| 21942 | Foucault challenges knowledge in psychology and sociology, not in the basic sciences [Foucault, by Gutting] |
| Full Idea: Foucault's project is to question quite specific claims to cognitive authority, made by many psychologists and social scientists. He has not problems with other domains, such as mathematics and the basic sciences. | |
| From: report of Michel Foucault (works [1978]) by Gary Gutting - Foucault: a very short introduction 5 | |
| A reaction: Nowadays we describe his target as Epistemic Injustice (see book of that title by Miranda Fricker). |
| 21941 | Unlike Marxists, Foucault explains thought internally, without deference to conscious ideas [Foucault, by Gutting] |
| Full Idea: Unlike Marxists, Foucault's project is to offer an internal account of human thinking, without assuming a privileged status for the conscious content of that thought. | |
| From: report of Michel Foucault (works [1978]) by Gary Gutting - Foucault: a very short introduction 4 | |
| A reaction: His project is historical. Personally I resent anyone who claims to understand my thought better than I do. I suppose my intellectual duty is to read Foucault, and see (honestly) whether his project applies to me. |
| 20416 | By 1790 aestheticians were mainly trying to explain individual artistic genius [Kemp] |
| Full Idea: By 1790 the idea that a central task for the aesthetician was to explain or at least adequately to describe the phenomenon of the individual artistic genius had definitely taken hold. | |
| From: Gary Kemp (Croce and Collingwood [2012], Intro) | |
| A reaction: Hence when Kant and Hegel write about art, though are only really thinking of the greatest art (which might be in touch with the sublime or Spirit etc.). Nowadays I think we expect accounts of art to cover modest amateur efforts as well. |
| 20417 | Expression can be either necessary for art, or sufficient for art (or even both) [Kemp] |
| Full Idea: Seeing art as expression has two components: 1) if something is a work of art, then it is expressive, 2) if something is expressive, then it is a work of art. So expression can be necessary or sufficient for art. (or both, for Croce and Collingwood). | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: I take the idea that art 'expresses' the feelings of an artist to be false. Artists are more like actors. Nearly all art has some emotional impact, which is of major importance, but I don't think 'expression' is a very good word for that. |
| 20419 | We don't already know what to express, and then seek means of expressing it [Kemp] |
| Full Idea: One cannot really know, or be conscious of, what it is that one is going to express, and then set about expressing it; indeed if one is genuinely conscious of it then one has already expressed it. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: That pretty conclusively demolishes the idea that art is expression. I picture Schubert composing at the piano: he doesn't feel an emotion, and then hunt for its expression on the keyboard; he seeks out expressive phrases by playing. |
| 20418 | The horror expressed in some works of art could equallly be expressed by other means [Kemp] |
| Full Idea: The horror or terror of Edvard Much's 'The Scream' could in principle be expressed by different paintings, or even by works of music. | |
| From: Gary Kemp (Croce and Collingwood [2012], 1) | |
| A reaction: A very good simple point against the idea that the point of art is expression. It leaves out the very specific nature of each work of art! |
| 21939 | The author function of any text is a plurality of selves [Foucault, by Gutting] |
| Full Idea: Foucault maintains that for any 'authored' text a plurality of selves fulfils the author function. | |
| From: report of Michel Foucault (works [1978]) by Gary Gutting - Foucault: a very short introduction 2 | |
| A reaction: This is a completely different concept of a 'self' from the one normally found in this database. I would call it the sociological concept of self, as something changing with context. So how many selves is 'Jane Austen'? |
| 21940 | Nature is not the basis of rights, but the willingness to risk death in asserting them [Foucault] |
| Full Idea: The decision 'to prefer the risk of death to the certainty of having to obey' is the 'last anchor point' for any assertion of rights, 'one more solid and closer to the experience than "natural rights"'. | |
| From: Michel Foucault (works [1978], EW III:449) | |
| A reaction: I recall a group of Afrikaan men going to face certain death, rather than give up apartheid. |
| 21116 | Power is used to create identities and ways of life for other people [Foucault, by Shorten] |
| Full Idea: For Foucault power is less about repressing people or issuing commands, and more about producing identities and ways of living. | |
| From: report of Michel Foucault (works [1978]) by Andrew Shorten - Contemporary Political Theory 01 | |
| A reaction: I take this to be the culmination of the Hegelian view of a person, as largely created by social circumstances rather than by biology. I'm beginning to think that Foucault may be a very important philosopher - although elusive. |
| 15314 | Faraday's single field of variable forces introduces a criterion of Unity into what is ultimate [Faraday, by Harré/Madden] |
| Full Idea: In Faraday lines of force picture the directional structure of powers,...so the fundamental entity is a single, unified field. ...A new criterion of the ultimate has stepped in: Unity. The universal field is still the final explanation, but not invariant. | |
| From: report of Michael Faraday (Experimental Researches in Electricity [1859]) by Harré,R./Madden,E.H. - Causal Powers 9.II.B | |
| A reaction: Almost Parmenides, except that the field is not invariant. But that was always the ancient objection to the One - that it offered no explanation of change. |